For her first solo show in the US Adriane Wachholz is presenting seven video-based installations that combine works-on-paper, photography and computer mapping techniques. Each begins with an original, large-scale drawing, which is then fed into a computer and married to original, site specific film-footage. That allows the artist to quite literally bring scenic imagery alive while engaging with critical notions of representation and the sheer, seductive quality of the serene.

Based in Dortmund, Germany, Wachholz works in a wide variety of media, including works on paper, sculpture, and installation. She has received a number of important prizes and grants including a Nam June Paik emerging artist award and the DEW21 Art Prize for Contemporary Art. She has shown widely in Europe and Asia, including Kunsthalle Bielefeld; Videospace, Budapest; Museum Kunstpalast Düsseldorf, Rizzordi Art Foundation St. Petersburg and Art Futures at Art Hong Kong.

THE WORLD IS DOWN | 10 Works by Eddo SternSpecial Preview: Thursday May 17, 2012 (Abbreviated selection of works) 6 – 8:30 pmPlease Note: Official Opening: Friday June 8, 2012Continues through July 27, 2012

In the Project Space: Vanishing PointReaching for the Infinite through the video works of Brandon Morse, Dorsey Dunn, Dreissens & Verstappen, Gil Kuno, AEAEAEAE, and a new flatscreen project by the late James Whitney Opening: Thursday May 17, 2012 6 – 8:30pmcontinues through July 27, 2012

YOUNGPROJECTS Gallery @Pacific Design Center #B2308687 Melrose Ave. (San Vicente and Melrose Aves) West Hollywood, CA 90069(Parking Avail @ West Hollywood Library)323-377-1102Made possible through the support of the PDC and the DLA program

Additional Information-

The World is Down: 10 Works by Eddo Stern marks a rare solo presentation of Stern’s work in Los Angeles featuring some of his most important projects from the past decade. Regarded as a legend within the digital arts, Stern creates hybrid forms that bridge a wide array of methodologies and influences—from video games to classical sculpture; appropriation to Asian shadow puppets; performance to animated painting.

At the heart of his practice is a concerted and sustained investigation into the themes and metaphors that are often associated with video gaming culture, and the ways in which electronic media has come to dominate our lives. The pathology of machismo, violence and magic & fantasy are just some of the areas that he returns to time and again, often combining such ideas with pointed political references and outright humor. The World is Down will feature three recently completed projects including the interactive game, “Goldstation (2012)”, a new sculptural version of “Portal, Wormhole, Flythrough” (2008-2012), and the 3D sensory deprivation game, “Darkgame (v3.0) (2012) (Please note: the full selection of works will be on display at the June 8th opening)

Born in Tel Aviv and based in LA, Stern is an Associate Professor at UCLA’s Design | Media Arts Department, and is the Director of the UCLA Game Lab. His work has shown at the Museo Reina Sofia, The Walker Art Center, The New Museum, The Hammer Museum, The Tate Gallery Liverpool, The Haifa Museum of Art, and many other institutions.

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Vanishing Point features a series of site-specific, multisensory installations from six different artists who share a common interest in the transcendent. The show introduces the first-ever flatscreen version of “Lapis” (1963-65) by James Whitney, one of the most important and seminal film artists from the Post War period. This 10 minute ‘mandalic’ film is a testament to the ways in which the depiction of manifest consciousness can be explored through the medium of celluloid and has been cited as “one of the true masterpieces of the 20th century” by Kerry Brougher, the chief curator at the Hirshhorn Museum in Washington DC.

The Netherlands-based Driessens & Verstappen follow with “I’m a Traveler,” an interactive piece that can be guided by the viewer but never resolved. (As the viewer selects different areas via mouse movements, the piece only expands further and further to the point of infinitum.)

LA’s Dorsey Dunn uses three projectors and to take over the largest room with “Ecliptic,” a text-based work that blurs distinctions between narrative and abstraction; sculpture and cinema. The piece is created “live” by a software program, which produces a series of text phrases (and original sound), which ultimately conveys the “recessional quality of the mind’s present moment,” as Dunn describes, leading to a similar sense of the infinite.

Beyond that are two additional works that render solid mass into liquid forms. New York’s Brandon Morse uses projection mapping to transform various surfaces within the gallery into a buzzing array of atoms, while Berlin’s AEAEAEAE (Simen Musaeus who works closely with Olafur Eliasson), uses a ceiling projection to transform the gallery floor into a mercurial rotating plane. The show concludes with a highly immersive, four-channel projection piece, “Haze,” by the LA-based experimental sound and visual artist, Gil Kuno.

YOUNGPROJECTS is proud to be working with Stockholm’s Kulturhuset Museum, LOOP and a number of today’s most extraordinary talents. Thirty works have been installed throughout the museum and will remain on view through May 2012. Please join us for the opening on Friday.

The exhibition features a selection of the most vibrant contemporary international video art and features some 30 works from the past decade. The artists in the exhibition represent different approaches and styles, generations and nationalities. Their works give examples of tendencies and themes in contemporary international video art, including film, painting, body art and performance, politics and social issues, experiments and humour.

Main Gallery: An Inducement, A Deliquescence, A Pungency Enveloped in a Caress: Recent Video Work by Matthew Weinstein Project Space: Suspension: A Two Person Exhibition with Reynold Reynolds and Kevin Cooley

“An Inducement, A Deliquescence, A Pungency Enveloped in a Caress: Recent Video Work by Matthew Weinstein

YoungProjects is proud to present the first solo exhibition of Matthew Weinstein in Los Angeles. The New York-born artist has shown at the Denver Museum, the Mint Museum (NC), The Wexner Center (Ohio), Portugal Arte 10 (Lisbon), Musee Matisse (Paris) Kunsthalle Vienna, Pinakothek der Moderne (Munich) and many others. His work is also included in the Metropolitan Museum of Art’s permanent collection, as well as other key collections.

Weinstein is known for creating sophisticated 3D animation work that uses the kind of visual language generally associated with major animation studios such as Pixar and DreamWorks (i.e. advanced software, motion-capture, and professional actors and musicians including Tony award winners Natasha Richardson, Hope Davis, Dennis O’Hare, Blair Brown and the Balkan Beat Box). However, the artist’s esthetic draws mostly from his painting and sculptural practice, which draws equally from antiquity as it does Pop art, Ikigama and classic cinema. Here porcelain pigs and candy-colored koi perform perverse musical numbers and soliloquies alike, often addressing the viewer directly. The result is an otherworldly, often hallucinogenic experience that remains utterly unique within the realm of contemporary art.

An Inducement, A Deliquescence, A Pungency Enveloped in a Caress, a line taken from Joris-Karl Huysmans’ famous celebration of artifice, Against Nature, (1884) will present most of Weinstein’s most recent animations, including the West Coast premier of his latest, The Childhood of Bertold Brecht, which the artist calls a “non-narrative musical tale of disillusionment and greed.” (Brecht’s theories of theater have long been an influence on the artist). Chariots of the Gods, 2009, (ft Natasha Richardson, 17 mins); Siam, 2008, (14 mins); Three Love Songs From the Bottom of the Ocean (14 mins) and more will be presented.”

Suspension: A Two-Person Exhibition with Reynold Reynolds and Kevin Cooley

“YoungProjects is pleased to present Suspension, a two-person show exploring the relationship between time and image through the work of the Berlin-based experimental film artist, Reynold Reynolds and the New York-based Kevin Cooley.

The exhibition was designed as a response to our epoch’s troubled relationship to time, which the author Mary Ann Doane attributes to “the prevalence of, and the adaptation to, Cinematic Time,” by culture at large. The show will include Cooley’s large-scale ceiling projection, Skyward (2012), which presents a series of disparate time-based moments that have been seamlessly woven together into a unified whole. Beginning in downtown Los Angeles and ending high above Pacific Palisades the piece literally stitches together LA’s disparate ecologies while creating an impossibly long tracking shot through LA’s famously horizontal environs. Yet as a kind of rebuttal to Gursky and Crewdson’s “godlike” camera, the viewer’s POV remains earthbound, which in turn creates a seductive meditation on expansiveness.

Reynolds, who originally studied physics before being tutored by the filmmaker Stan Brakhage, uses a combination of stop motion techniques and rigorously staged mise-en-scene to create extraordinary cinematic works that zero in on the tension between the frozen, recorded moment and celluloid movement. Three dual channel works, Secret Life (2008), Secret Machine (2009) and Six Easy Pieces (2010) will be included, as well as a 4-channel work, Seven Days Till Sunday, which was co-directed by the Irish artist, Patrick Jolly. (The piece is In Memoriam, after Jolly’s passing earlier this month)

Reynolds has received numerous awards for his experimental films and installations, including the festival award at the European Media Arts Festival Osnabrueek; First Prize at the Black Maria Film Festival, and First Prize at the SxSW Film Festival. He has also presented his work at the Tate Modern, the New Museum of Contemporary, PS1, the Berlin Biennale, the Moscow Biennial, the Guangzhou Triennial, and the Museo d’Arte Contemporanea, Roma.

Cooley has shown his photographs and videos at the Swiss Institute NY, White Columns, Massimo Audiello, Site UK and is included in a number of important private and public collections including the Solomon R Guggenheim Museum.

Cooley’s work at YoungProjects is in conjunction with the Paul Kopeikin Gallery, which will be showing Cooley’s photographs concurrently. Skyward was partially funded by the Experimental Television Fund.”

“This group exhibition takes its title from Wallace Stevens’s poem, the Pediment of Appearance, which follows a group of young men as they venture to find the ultimate, pure form while exploring a nearby forest. Each of the seven artists hail from different countries, and often differ in conceptual strategies, yet they all share a minimal, formalist aesthetic. The show includes Erudition (2011), a major new 30’ landscape piece by Richardson; Interrogation (2010) an award winning word piece by Krunglevicius, and Wormhole (2009) by Hammer, which presents nine stories at the same time through 35mm slides.”

Opening: Kurt Ralske, Eugen Schüfftan and John CarpenterThu, September 22, 2011 6:00PM to 8:30PMHosted by YoungProjects

“YoungProjects is proud to present The Mechanical Bride, an exciting exhibition that not only marks the first solo show of New York’s Kurt Ralske, but presents a selection of historically important, recently discovered Furturist films by Eugen Schüfftan, as well as new interactive digital works by John Carpenter.

All sixteen works on display represent the edge of contemporary image-making practices, where technology serves as both inspiration and means. Ralske’s photographs and videos use custom-designed software to create highly organic mosaics that comment on, and engage with, Modernist aesthetics, cinematic history and notions of time. Carpenter too uses advanced technologies to not only create emergent works that “sense” their environments and respond accordingly, but explore landscape traditions and notions of performance. The late Schüfftan, who’s films have been lost for 80 years, can be seen as a forefather of these artists. His extraordinary Futurist films were, and still are, emblems of the outer edges of avant-garde sensibilities, and can now can be seen as the closest filmic representation of Cubism ever committed to celluloid.”

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The MOVING INDEX is the current platform of ART OFFICE: seeking, sharing and promoting a community around time-based art. Our contributors are active artists and filmmakers around the world posting events, exhibitions, screenings, performances and ideas involving time and temporality. mailroom@artoffice.org